!!!! Understanding!the!Modern!Rhythm!Section! Outside!Pedestrian! Dr.!Anthony!Fesmire,!guitar!
|
|
|
- Maurice Simmons
- 5 years ago
- Views:
Transcription
1 UnderstandingtheModernRhythmSection OutsidePedestrian.outsidepedestrian.com Dr.AnthonyFesmire,guitar AssociateProfessor,CollegeoftheDesert.anthonyfesmire.com DavidLockeretz,ass DavidOromaner,drums DavidODrums.davidoromaner.com
2 Guitar Electric Bass Drum Set Gtr. E.B.? ã D. S. Blue Samuel Sammy Nestico Medium Sing q = Fmaj 7 D 7 D 7(9) Gmi Gmi (ma7) Gmi 7 Gmi 7 /C F B B` F F 13 B mi 9 E 13? 4 Fmaj 7 D 7 D 7(9) Gmi Gmi (ma7) Gmi 7 Gmi 7 /C F B B` F F 13 B mi 9 E 13 ã 4 x x. xx x. x œ œ œ œ x x. xx œ. œ œ œ? Ens. œœœœ œœœ???? œ œ Œ œ œ œ???? Cmi/A Cmi/A > > œ. œœ œ j???? D 7 D 7 œ œ œ œ œ Fill Œ???œ œ œ Gmi 9 Ó Ó Œ Û Û œ. œ j œ œ œ œ j œ œ. œ œ œ œ C 7( 9) Œ œ œ œ œ œ x x x x œ œ œ œ œ œ œ F Ó Û Û Û Ó 3 E Dmi 7 D 6/ 9 œ œ j œ Œ x œœœ xx x œ x œ j Fill Solo G maj 7 Ó Œ Û U > Ó Œ j > œ??? x x x U Gradually Sloer Solo U x x x x x x 3 3 F 7(9) U U U Y
3 Guitar and the Modern azz Band Dr. Anthony Fesmire E Form Bar Chords E The E chord aove is a common open chord on the guitar that makes use of a comination of open strings on fretted notes. Open chords are generally among the first chords that a student ill learn on the guitar and include E, A, G, C, D, etc. The chords diagramed elo are standard ar chords ased on the E form or shape. Bar chords use one or more fingers to push don multiple strings in the same fret. In the E form ar chords, the three fretted notes are moved up the neck and the open strings are replaced y the arring of the first finger. This makes it possile to play any major chord y moving the E shape up the neck chromatically. The root of each of these chords is on the lo E string. F F G G A B 6fr. B 7fr. C 8fr. C 9fr. D 10fr. E 11fr. E 12fr. Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
4 2 A Form Bar Chords A The A form ar chords ork the same ay as the E form ar chords. The A form ar chords are ased on the open A chord. The root of each of these chords is on the A string. B B C C D E 6fr. E F F 9fr. G G 11fr. A 7fr. 8fr. 10fr. 12fr. Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
5 3 E Form Seventh Chords There are five common types of seventh chords found in jazz: major 7, minor 7, dominant 7, minor 7 flat 5 (half-diminished), and diminished 7. The folloing seventh chord examples are ased on the E ar chord shape ith the root on the lo E string. Each shape can e moved up the neck chromatically to play an example of each chord type ith any root. Notice that each chord shape contains only four notes. azz guitar voicings tend to not doule notes. F maj7 G maj7 G maj7 A maj7 Maj7 F 7 G 7 G 7 A 7 2fr. m7 F m7 G m7 G m7 A m7 7 F m7( 5) G m7( 5) G m7( 5) A m7( 5) m7(5) F o 7 G o 7 G o 7 A o 7 o 7 Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
6 4 A Form Seventh Chords The folloing seventh chord examples are ased on the A ar chord shape ith the root on the A string. Each shape can e moved up the neck chromatically to play an example of each chord type ith any root. B maj7 C maj7 C maj7 D maj7 Maj7 B 7 C 7 C 7 D 7 m7 B m7 C m7 C m7 D m7 7 B m7( 5) C m7( 5) C m7( 5) D m7( 5) m7(5) B o 7 C o 7 C o 7 D o 7 o 7 Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
7 5 Advanced Voicing Concepts Close Position There are a large numer of possile chord shapes on the guitar. The next four chords are examples of C7 voicings. Each voicing has a different note of the chord as the highest pitch (C, E, G, B). Each chord is voiced don from its highest note ith the other three notes of the chord as close to the top note as possile. These are knon as close position voicings. Drop 2 Most close position voicing are difficult, if not impossile, to play on the guitar. A common sustitute for the close position voicing is the drop 2. Compare the close position voicing aove to each of the drop 2 voicings. The drop 2 voicings are the same as the close position voicing ut the second note from the top is dropped one octave. C 7 C 7 C 7 C 7 8fr. Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
8 6 Guide Tones In a jazz rhythm section, it is assumed that the assist is playing the root of each chord, and guide tones are the third and seventh of each chord joining ith the ass to complete the most important notes of any seventh chord. D m7 G 7 C maj7 Guides Tone ith Tension It is common for guitarists to create three note chord voicings that use guide tones along ith one tension. D m9 G 13 C maj9 Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
9 7 Comping Rhythm Basics Slash Notation Typical jazz guitar music ill include chord symols ith slash notation. Implied y the slash notation is that the guitarist ill interpret the music and play a part that as appropriate for the style. D m7 G 7 C maj7 4 4 "Freddie Green" Style Freddie Green style comping is named for the guitarist ho played ith the Count Basie Orchestra. While Freddie Green is the guitarist ho is est knon for playing in this style, it as a common ay to comp during the sing era. D m7 Û Û > Û Û > G 7 Û Û > Û Û > C maj7 Û Û > Û Û > Û Û > Û Û > Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
10 8 "Piano Style" Comping Patterns The e-op era is considered the eginning of modern jazz. Starting in the e-op era, guitar and piano comping ecame similar ith a focus on varied and syncopated rhythms that complemented the melodic material and improvisation central to the style. To egin to comp in this style, ecome familiar ith the folloing rhythms. Dotted-Quarter/Eighth Note Pattern D m7 Û. Û. Ó G 7 Û. Û. Ó C maj7 Û. Û. Ó Û. Û. Ó Anticipations D m7 G 7. Û >. C maj7 Û >. Û > E m7 A 7 D m7 Û. Û > Û. Û > Û. G 7 Û > Û. C maj7 Û > Û. D 7 C maj7 Û > Û. Û > Spontaneity Eventually, ork toard spontaneity. E m7 A 7 D m7 Û. Û Û Û Û. G 7 Û Ó C maj7 D 7 C maj7 Û Û Û Œ Û Û Û Œ Ó Dr. Anthony Fesmire, Guitarist/Composer/Educator.anthonyfesmire.com.outsidepedestrian.com
11 CREATINGAZZBASSLINES COMMENTARY:DAVIDLOCKERETZ EXAMPLES:TOMWARRINGTON Inmanystylesofmusic,suchasrock,funkandRB,assistsfocusonlockinginiththe kickdrum.hoever,oneofthekeystoagoodjazzfeelisfortheassisttofocusonthe ridecymal.inaalkingassline,agoodfeelisasimportantasnotechoice.agood feelcomesfrommakingthequarternoteseemasthickaspossile,hichcomesfrom lockinginiththeride.example1shosaridecymalpatterniththecorresponding quarternotesontheass. azzassistsneedtoecomfortaleithcommonchordprogressionsandtheir variations.inexample2,eseea12zarluesinbzflat,astapleofthejazzrepertoire. Beginningassistscanfamiliarizethemselvesiththisprogressionsimplyyplaying quarternotesontherootsofeachchord. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
12 Onceaassistecomescomfortaleithplayingtheroots,theycanaddapproach noteseforeeachnechord.inexample3,eachnechordisapproachedfromone halfzstepelo.thusinthefirstmeasure,insteadofplayingfourbzflats,thelineis threebzflatsandad,approachingthenechordofe7inthesecondmeasurefroma halfzstepelo.inmeasure3,thelastquarternoteischangedfrombzflattoatocreate variety. Inexample4,morevarietyiscreatedyrepeatingtheapproachnotes.Thesecondeat ofmeasure2isthesamedthatasusedtoapproachthee7chordinthedoneatof themeasure.thesecondquarternoteofmeasure4isana,givingthelinemoreshape. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
13 Example5introduces5ths,hicharecircled.TheFinmeasure3isthe5thdegreeof B7;theBZflatinmeasure4isthe5thdegreeofE7.Electricassistshoareneto jazzcanetaughttorecognizehereallfifthsfallonthefretoardrespectivetotheir roots.example6shoshoanyfifthcanefoundyplayingthesamefretonthenext loerstring(loerypitch;physicallyhigheryposition). Example7introducesoctaves.Onanelectricass,octavescanefoundymovingto stringsandtofretsover,asseeninexample6.bynotlimitingthemselvestooneroot note,assistscanmaketheirlinesmoreinteresting.thecirclednotesinmeasures4,6, 8,9and10arerootnotesplayedinasecondoctave. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
14 Example8usesdouleapproachnotesforeachchord,expandingontheconceptshon inexample3.thus,ehavetorootnotes,thenanoteaholestepelothene chordoneatthreeandanoteonehalfstepelothenechordoneat4.thee7in measure2isapproachedyac(aholestepelo)oneat3intheprevious measureandad(halfstep)oneat4. Inexample9,nechordsareapproachedfromonehalfZstepaove(Einthefinaleat ofmeasure1descendsahalfsteptoezflat,therootofthenextchord.) DavidLockeretz,Bassist/Composer.outsidepedestrian.com
15 Inmeasures4,6,10and12ofexample10,arhythmicfigure,calleda"drop",is introduced.inthesecases,theupperrootisplayedfirst,thenthefiftheloitisadded (BZflattoFinmeasure4;CtoGinmeasure9,etc).Dropsareaayforassiststoadd rhythmicinteresttotheirlineshilestillkeepingtheasicquarternotefeel.often timesthesecond,shorternoteis"ghosted";henthedropoccursonthesecondor fourtheat,asinmeasures9and12,therhythmoftencorrespondstotheridecymal. Thoughusuallynotatedadottedquarterfolloedyasixteenth,dropsareplayedmore likeatripletquarterandeighth(traditionalsingeighths).likefillsfordrummers,drops aremosteffectivehenusedinmoderation. Theseideasaresolid,simpletounderstanduildinglocksthatcanhelpeginningjazz assistsfamiliarizethemselvesiththefeel,styleandrepertoire.theyalsoserveas goodfundamentalexercisesformoreadvancedassists.nomatterhoaccomplisheda assistmaye,theirroleremainstherhythmicandharmonicfoundationofthe ensemle. DavidLockeretz,Bassist/Composer.outsidepedestrian.com
16 azz Drums Perspective David Oromaner I. Drummer/Bassist Relationship In rock, RB, and lues the ass player locks in ith the ass drum In jazz the ass player locks in ith the ride cymal II. azz Interpretation Eighth notes are interpreted as eighth note triplets. Triplet sudivision is felt throughout entire sing pattern: III. azz Drums Notation Drummer usually only given a asic guide. Fills are usually not ritten in. Bass drum notation is ritten in usually as a guide to hat rhythm the ass player is playing. David Oromaner, Drummer/Educator..davidoromaner.com.outsidepedestrian.com
17 If feathering hasn t een developed yet e recommend only playing the ass drum to accentuate ensemle accents. Exceptions could e certain styles like old time sing and second line. IV. azz Ride Feel (All aout the Quarter Note) Avoid accenting eats 1 and 3 (exception eing the to feel) Most drummers ill accent the 2 and 4 hich is fine; accentuating all the quarter notes ill make the and sing harder. David Oromaner, Drummer/Educator..davidoromaner.com.outsidepedestrian.com
Straight No Chaser. for Osceola All-County Jazz Auditions. j œ œ œ nœ. # œ œ nœ. œ # œ œ # œ œ œ # œ œ œ. # œ œ. œ œ# œ œ# œ œ œ œ.
Alto Sax 4 Ó Œ for Osceola 2002-2003 All-County azz Auditions # # n T Monk # # G # # 9 # E- # # # A # # # A 4 # G # n # # 8 G # # # E- E- 22 # # # # # # A The Articulation in this piece should e closer
Introduction to Jazz Guitar Chords and Comping Styles. -by Mike Scott
Introduction to Jazz Guitar Chords and Comping Styles -y Mike Scott he folloing lessons introduce some of the asics of azz guitar chords opics include: Some of the most common chord voicings used Intervals
Basic Stuff That You HAVE To Know
The first thing and possily the most important thing is the cycle of 5ths (or 4ths depending if you go up or don). 5ths (4ths) refers to intervals. Here is the cycle starting on C. 4 4 Basic Stuff That
by Mark White Whitmark Music Publishing BMI
HARMONY PRIMER y Mark White Whitmark Music Pulishing BMI As a prelude to my Basslines Lesson 2-adding the chords, I thought it might e a good idea to spend a little time explaining ho asic Jazz harmony
Chapter 3, Introduction to Triads and Seventh Chords Chapter 3 Glossary = or = Augmented Triad (+): Bass Position: Bass-Position Symbols:
Chapter 3, Introduction to Triads and Seventh Chords Chapter 3 Glossary http://.mhhe.com/kostka7e = or = http://highered.mheducation.com/sites/0078025141/information_center_vie0/index.html Augmented Triad
The diminished harmonic system produces three eight-note
Diminished System Diminished Scale Construction The diminished harmonic system produces three eight-note symmetric scales ased on the minor third interval (four equal divisions of the octave). Each scale
Chord Studies. 374 Chords, including: Triads Sixths Sevenths Ninths. Chord Adjustments in Just Intonation Triads Sixths Sevenths
Chord Studies 374 Chords, including: Triads Sixths Sevenths Ninths Chord Adjustments in Just Intonation Triads Sixths Sevenths Intervals and their Derivations from Equal Temperament Edited y Nikk Pilato
Beat 70 by Pat Metheny & Lyle Mays / arr. by John R. Hearnes & Edward Freytag Advanced / 5:00 / Players
oremost In Marching And Concert iterature PO Box 292671 Nashville, TN 37229 1-800-62-8001 AX 1-615-885-0370 rolocom Beat 70 y Pat Metheny yle Mays / arr y ohn R Hearnes Edard reytag Advanced / 5:00 / 10-11
Contents. The Total Beginning Guitarist
Contents bout the uthors... 4 Introduction... 5 uying a Guitar... 6 Parts of the Guitar... 7 Holding the Guitar... 8 wo Positions for Playing the Guitar... 8 Left-Hand echnique... Right-Hand echnique...
Adding Color and Richness to Common Chords
Adding Color and Richness to Common Chords BY JOHN MARK PIPER Maj 7 chords are made of 1, 3, 5, 7 of the major scale. (Cmaj7, CM7) It is often desirale to add color to chords using chord extensions that
w w w P5 w w œ # œ & w # w # w n w n œ & œ # Sequential Singing of Dyads Dyads play on piano 8ve sing top voice # w sing bottom voice
Dyads CD1 Track 2 Sequential Singing of Dyads play on piano 3 P5 n 6 8ve sing top voice sing ottom voice n sing sequential dyads descending n. (dotted lines indicate aural connections) sing sequential
From The Bottom Up: Building Your Own Jazz Bass Lines
From The Bottom Up: Building Your On Jazz Bass Lines Overvie Purpose The purpose of this presentation is to learn ho to create ass lines from a set of chord changes. The maority of the presentation ill
chapter two: melodic material
chapter to: melodic material Many approaches can be taken hen soloing/improvising over this progression. he easiest and probably the best place to start is by simply arpeggiating the chords. Start ith
Foreword PART 3: WORKOUTS Melodic Minor Workouts How to Practice Workouts... 26
TABLE OF CONTENTS Foreord...................................................... 7 PART 1: BACKGROUND............................................. 9 PART 2: THEORY.................................................
Contents. Beginning Theory for Adults. Introduction Chapter One 5
2 Contents Introduction... 4 Chapter One 5 Lesson 1: What Is Music?... 5 Pitch... 5 Time... 5 Lesson 2: The Musical Alphabet and Reading Pitch (Treble)... 6 Notes... 6 The Musical Alphabet... 6 Lesson
The Fundamental Triad System
The Fundamental Triad System A chord-first approach to jazz guitar Volume I Creating Improvised Lines Pete Pancrazi Introduction / The Chord-First Approach Any jazz guitar method must address the challenge
CONTENTS. About the Author... 4 Introduction The B Lessons Improvisation. The A Lessons Chords and Harmony. Chapter 1. Chapter 2.
CONTENTS Aout the Author... 4 ntroduction... 5 The A Lessons Chords and Harmony Chapter 1 Lesson 1A: The Progression...6 The Lessons mprovisation Lesson 1: mprovising Over Diatonic Progressions... 8 Lesson
MUSIC THEORY GLOSSARY
MUSIC THEORY GLOSSARY Accelerando Is a term used for gradually accelerating or getting faster as you play a piece of music. Allegro Is a term used to describe a tempo that is at a lively speed. Andante
9/11/14. Jazz for Non- Jazzers. Dr. Chad West. Some Basic Jazz Styles. LaBn Bop Blues Swing
Jazz for Non- Jazzers Dr. Chad West Some Basic Jazz Styles LaBn Bop Blues Swing 1 Opening Thoughts Why have a jazz band as part of your music program? Why do some people not have jazz bands as part of
Forming a Tonal Center
Forming a Tonal Center Tonality in Western Music How do we establish of the 2 notes in western music as the most important note or tonal center Here is the way it happens! Free Lesson, Page The 2 notes
Pop Ballad Accompaniment for Piano and Keyboard by Ron Drotos
pedal Sloly etc E m Pop Ballad Accompaniment for Piano and Keyboard by Ron Drotos opyright 2012 Ron Drotos There are many types of piano accompaniment that ork ell behind a vocalist, hether you yourself
As Recorded by the New York Voices. I Could Write a Book. Words by LORENZ HART Music by RICHARD RODGERS Arranged by DARMON MEADER.
As Recorded y the Ne York Voices I Could Write a Book Conductor Vocal Quartet (SATB) Vocal Solo emale Vocal Solo Male 1st E Alto Saxophone 2nd E Alto Saxophone 1st B Tenor Saxophone 2nd B Tenor Saxophone
Electric Guitar Foundation Level 1
Electric Guitar Foundation Level 1 & INSTRUMENT The student should adopt the correct playing position including, how to hold the instrument and place both hands in the correct position. The student should
Staves, Times, and Notes
Staves, Times, and Notes The musical staff or stave is the structure designed for writing western music. The written staff has five lines and four spaces. Each staff has a clef symbol, a key signature,
Piano Voicing Mnemonics
Piano Voicing Mnemonics I. One-anded Jazz Voicings for Major 7, Dominant 7, and Minor 7 Chords. Category (rd in the loest voice) C 7 E B D Look at root at the top and spread out (up a hole, don a half);
We aren't going to play any 4/4 time signatures because you already know this style. Let's try some others.
Time Signatures Video Reference: Chapter 2 - "Time Signatures" We aren't going to play any 4/4 time signatures because you already know this style. Let's try some others. These may not be the most 'fun'
TABLE OF CONTENTS ABOUT THE AUTHOR...4 INTRODUCTION...5
ABLE OF CONENS ABOU HE AUHOR...4 INRODUCION... CHAPER Getting Started 6 he Fretboard...6 Reading Standard Music Notation... Reading Bass ablature...9 Chord Symbols...9 Accidentals... 0 he Chromatic Scale...
Mozart, Beethoven, and Brahms were all renowned for their improvisational abilities
ØJazz Ukulele What is Jazz? (From Ask Jeeves) - a genre of popular music that originated in New Orleans around 1900 and developed through increasingly complex styles. A type of music of black American
Contents. Beginning Bass for Adults. About the Author Eighth Notes...33 Eight to the Bar...33 The Eighth Rest...34 Rasta Riff...
2 Contents bout the uthor... Introduction... Ho to Use his ook... Chapter One uying Your ass... mplifiers... arts of the ass... Holding the ass... 8 he Left Hand... he Right Hand... uning Your ass...2
5 Miles Davis ii V I licks.
5 Miles Davis ii V I licks. BASS CLEF Matt Lawton WWW.MATTLAWTONBASS.COM MATTLAWTONBASS@GMAIL.COM About The Author Thanks for downloading my ebook! If you don t know who I am allow me to introduce myself;
ii-v-i ? 4 4 Dm7 G7 CMaj7 Gm7 C7 FMaj7 Cm7 F7 B Maj7 Fm7 B 7 E Maj7 B m7 E 7 A Maj7 E m7 A 7 D Maj7 A m7 D 7 G Maj7 C # m7 F # 7 BMaj7 F # m7 B7 EMaj7
The most common chord progression found in jazz music is the ii-v-i (2-5-1), and the source of the minor ii, dominant V, and major I chords is the modes of the major scale. For example, the C major scale
Virginia Standards of Learning IB.16. Guitar I Beginning Level. Technique. Chords 1. Perform I-IV-V(V7) progressions in F, C, G, Scales
Guitar I Beginning Level Technique 1. Demonstrate knowledge of basic guitar care and maintenance 2. Demonstrate proper sitting position 3. Demonstrate proper left-hand and right-hand playing techniques
Gospel Piano. Beginner - Lesson 1A. iv 4 V 5
ospel Piano Beginner - Lesson 1A Martin ureasko The Naked Keyboardist EXAMPLE 1 REEW - The Scale Tone hords These triads (three-note chords) are built on each tone of the scale, using only those notes
# w. # w # # w # w # w
& & PRIMARY TRIADS In Levels 1-4, triads (3-note chords) ere built on the first note of the scale. If an example as in the key of E Major, then the triad introduced as an E Major triad, ith E, G and B.
Preview Only. Legal Use Requires Purchase. Hit the Road Jack JAZZ. Words and Music by PERCY MAYFIELD Arranged by MIKE LEWIS INSTRUMENTATION
a division o Alred JAZZ Hit the Road Jak Words and Musi y PERCY MAYFIELD Arranged y MIE LEWIS ISTRUMETATIO Condutor 1st E Alto Saxophone 2nd E Alto Saxophone 1st B Tenor Saxophone 2nd B Tenor Saxophone
Contemporary Guitar Syllabus
ST CECILIA EXAMINATIONS Contemporary Guitar Syllaus Examination centres throughout Australia, Ne Zealand, Asia and Europe Email: info@st-cecilia.com.au We:.st-cecilia.com.au Australia Freecall: 0 6 292
Table Of Contents. GuitarZoom 2015
Table Of ontents Ho to Fretboard hord Basics and Major hords Minor hords I-IV-V in Major Keys Minor Key hords Progression hord Inversions uitarzoom uitar Tuning: Moderate q = to Ê Â = = = Tuning x. x.
Preview Only. Legal Use Requires Purchase. Don t Stop Believin JAZZ
a division o Alred JAZZ Don t Stop Believin Words and Musi y STEVE PERRY, NEAL SCHON and JONATHAN CAIN Arranged y PAUL BAER INSTRUMENTATION Condutor 1st E Alto Saxophone 2nd E Alto Saxophone 1st B Tenor
10 Must Know Jazz Guitar Chords
10 Must Know Jazz Guitar Chords Playing the right chords through a jazz standard can be tricky without the right chord vocabulary. In this lesson, we will cover the 10 must know jazz guitar chords that
The Chromatic Scale (all half steps) The Major Scale The formula for the major scale is: w w 1/2 w w w 1/2. Minor Scales
The hromatic Scale (all half steps) # # E F F# # A A# B OR: b Eb E F b Ab A Bb B # # E F F# # A A # B & # # # # # b E b E F b A b A B b B & b n b n b n b n b n The Major Scale The formula for the major
Chords- Theory and Application
Chords- Theory and Application Chords remain a mystery for most guitarists because of the mystique surrounding both the guitar and the theory behind what makes a chord appropriate. The almost limitless
If your students can play the attached trio, they will be able to play all of the trios in this collection with no problem.
FREE! from.freeguitarensemblemusic.com The folloing trio from the 12th Fret Capo Series is made available to you at no cost from freeguitarensemblemusic.com. Try it. Perform it. If you like it and ould
NOTES TO JAZZ IMPROVISATION CLINIC Copyright Rhinoceruss Music 2005
41-42 42 nd Street, Suite 1-O Sunnyside, NY 11104 (646) 320-3617 russ@russnolan.com.russnolan.com NOTES TO AZZ IMPROVISATION CLINIC Copyright Rhinoceruss Music 2005 1. ust like English, Spanish, German,
The Ultimate Guide To Bass Harmonics. Create chords, melodies and solo bass pieces using harmonics
The Ultimate Guide To Bass Harmonics Create chords, melodies and solo bass pieces using harmonics Ho To Use This Guide Welcome to this Ultimate Guide! It s great to have you on board. First things first,
Performance Notes. Photo by Atsushi Sato
. All Tapped Out The first time I heard Eddie Van Halen do his tapping thing, I sat in disbelief that hat I as hearing as guitar. Of course, so many of us guitarists became so enamoured of that sound that
Contents. Bassic Fundamentals Module 1 Workbook
Contents 1-1: Introduction... 4 Lesson 1-2: Practice Tips & Warmups... 5 Lesson 1-3: Tuning... 5 Lesson 1-4: Strings... 5 Lesson 1-6: Notes Of The Fretboard... 6 1. Note Names... 6 2. Fret Markers... 6
Intervals For The Guitar
Intervals For The Guitar Intervals are the distance between 2 notes. We can take an originating tone and give every other note an interval name to describe each tone's distance in relation to the originating
Blues Guitar E E E E E A E E E A E E A A E E A A E E A A E E B A E B B A E B B B E E
Blues music uses a 3 Chord Progression - I IV V Chord numbering example in the key of C: C = I, D = II, E = III, F = IV, G = V, A = VI, B = VII Examples of different scales A D E B E F C F G D G A E A
Easy Guitar Soloing Your stress free guide to soloing in the jazz guitar style.
Easy Guitar Soloing Your stress free guide to soloing in the jazz guitar style. Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2018 Guitar for Life LLC Expanded Preview Table of
Preview Only. Legal Use Requires Purchase. The Days of Wine and Roses JAZZ. Music by HENRY MANCINI Lyrics by JOHNNY MERCER Arranged by MIKE LEWIS
a division of Alfred JAZZ The Days of Wine and Roses Music by HENRY MANCINI Lyrics by JOHNNY MERCER Arranged by MIKE LEWIS INSTRUMENTATION Conductor 1st Eb Alto Saxophone 2nd Eb Alto Saxophone 1st Bb Tenor
CONTENT AREA: MUSIC EDUCATION
COURSE TITLE: Advanced Guitar Techniques (Grades 9-12) CONTENT AREA: MUSIC EDUCATION GRADE/LEVEL: 9-12 COURSE DESCRIPTION: COURSE TITLE: ADVANCED GUITAR TECHNIQUES I, II, III, IV COURSE NUMBER: 53.08610
Level 7. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 7 Length of the examination: 35 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 3 examination
Pentatonic Scale Studies Second Edition (2003)
Pentatonic Scale Studies Second Edition (2003) Edard Petersen Roving Bovine Music Pentatonic Scale Studies Second Edition Many thanks to Brian Seeger for his ork in repairing and organizing the Pentatonic
Group Piano. E. L. Lancaster Kenon D. Renfrow BOOK 1 SECOND EDITION ALFRED S
BOOK SECOND EDITION ALFRED S Group Piano FOR A D U LT S An Innovative Method Enhanced with Audio and MIDI Files for Practice and Performance E. L. Lancaster Kenon D. Renfrow Unit 9 Scales (Group ) and
CHAPTER TWO BASIC SKILLS REVIEW COMMON CHORDS
6 PROGRESSION 1. I - IV - V7 2. I - vi - IV - V7 3. I - ii - V7 4. I - iii - IV - V7 CHAPTER TWO BASIC SKILLS REVIEW COMMON CHORDS The chart below contains the seven pitches of five major scales. Upper
The Basics of Minor ii V Soloing for Jazz Guitar. The Basics of Minor ii V Soloing
The Basics of Minor ii V Soloing for Jazz Guitar The Basics of Minor ii V Soloing When learning Minor ii V Soloing for guitar, a big mistake many guitarists make is to approach bebop improvisation from
St Cecilia MODERN PIANO/JAZZ Syllabus
St Cecilia MODERN PIANO/JAZZ Syllabus Introduction This syllabus aims at fostering the skills of jazz and popular musical performance at the piano. These vibrant areas of self-expression are of ever-increasing
Riff Broken Chord Arpeggio. Phrase. Improvisation Phrase Back Beat
Riff Broken Chord Arpeggio Scale Pattern or Scalic Question and Answer Phrase Blues Scale and Blues Notes Improvisation Phrase Back Beat 4/4 3/4 Also known as simple time Syncopation Swing This maybe a
Jazz Standard Study Guide Corcovado
Jazz Standard Study Guide Corcovado Written By: Matthew Warnock Published By: Guitar for Life LLC Cover Photo By: Twizzlebird Creative Copyright 2017 Guitar for Life LLC Introduction to This Study Guide
Riff Broken Chord Arpeggio. Phrase. Improvisation Phrase Back Beat
Riff Broken Chord Arpeggio Scale Pattern or Scalic Question and Answer Phrase Blues Scale and Blues Notes Improvisation Phrase Back Beat 4/4 3/4 Also known as simple time Syncopation Swing This maybe a
Improv Pathways. Table of Contents. CD 1 Track List
Introduction & CD Track Lists........ 1-3 Lessons 1-8: The I Chord............ 4-14 Head Charts: I Chord.............. 15-16 Lessons 9-13: The IV Chord........ 17-23 Head Charts: I & IV Chords........
Forming a Tonal Center
Forming a Tonal Center Tonality in Western Music How do we establish 1 of the 12 notes in western music as the most important note or tonal center? Here is the way it happens! Jazz Everyone! Free Lesson,
THE. SaxBook. 2 nd Edition. By Kelsey J. Lien
THE SaxBook 2 nd Edition By The SaxBook 2 nd Edition By TABLE OF CONTENTS PART 1 Introduction PART 2 Finger Wiggles Interval Studies Novice Note Lengths Octave Wiggles Long Tones Novice Octave Slurs Long
Playing Jazz Guitar Bass Lines with Chords
Playing Jazz Guitar Bass Lines with Chords The guitar is an extremely versatile instrument, with seemingly endless techniques and tones around every corner. One very important and widely used jazz guitar
Table of Contents. The Blues Scale in A Minor 3 Position 1 4 Position 2 5 Position 3 6 Position 4 7 Position Must Know Chords 9
Tale of Contents The Blues Scale in A Minor Position Position 5 Position 6 Position 7 Position 5 8 -Must Know Chords 9 The Blues Scale in A Minor If you want to e ale to play the Blues as well as related
Understanding and Using Pentatonics Creatively: Lesson 1
Understanding and Using Pentatonics Creatively: Lesson 1 Major and Minor Scales When we write melodies, play bass lines and improvise solos, we derive our information from scales. There are many types
Major Pentatonic Scales: Lesson 1
Major Pentatonic Scales: Lesson 1 In the next 4 video lessons we will be looking at and discussing some simple concepts for creating grooves and groove solos. The 4 Lessons will focus on Using Major Pentatonic
Jazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures
Jazz Theory and Practice Module 5 a, b, c Dim. 7 th & 9 th Chords; Extensions to the 13 th ; Other Harmonic Structures B. Extensions: 9 th, 11 th and 13 th chords Jazz Theory and Practice Harmonic extensions
How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007
How to Improvise Jazz Melodies Bob Keller Harvey Mudd College January 2007 There are different forms of jazz improvisation. For example, in free improvisation, the player is under absolutely no constraints.
Developing lines. œ œ œ œ œ œ œ Œ Ó. Break the bebop scale up into 4 parts that connect chord tones using scale motion
G7 4 G 7 # Bebop Lines Developing lines Jeff Ellwood Break the bebop scale up into 4 parts that connect chord tones using scale motion 1-5 3-7 5-1 7-3 # # 4 5-1 7-3 1-5 3-7 8 After learning the scales
Forming a Tonal Center
Forming a Tonal enter Tonality in Western Music How do we establish 1 of the 12 notes in western music as the most important note or tonal center? Here is the way it happens! Free Lesson, Page 1 The 12
Level 6. Piece #1 12 Piece #2 12 Piece #3 12 Piece #4 12. Total Possible Marks 100
Level 6 Length of the examination: 30 minutes Examination Fee: Please consult our website for the schedule of fees: www.conservatorycanada.ca Corequisite: Successful completion of the THEORY 2 examination
Assessment Schedule 2014 Music: Demonstrate knowledge of conventions used in music scores (91094)
NCEA Level 1 Music (91094) 2014 page 1 of 7 Assessment Schedule 2014 Music: Demonstrate knowledge of conventions used in music scores (91094) Evidence Statement Question Sample Evidence ONE (a) (i) Dd
Jim Hall Chords and Comping Techniques
Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with
Jim Hall Chords and Comping Techniques
Jim Hall Chords and Comping Techniques Jazz guitar comping is an art form in its own right. The comping rhythms, melodies, and voicings of the greatest Jazz guitarists are delightful to listen to, with
Fundamentals Lecture (topic: non-harmonic tones) (N.B. Class activities are in bold, keywords in italics)
undamentals Lecture (topic: nonharmonic tones) (NB lass activities are in old, keyords in italics) I Exposure to concept Distriute handout pg 1 Have the class sing the melody of the first 6 ars of "My
An Approach to Jazz Piano
An Approach to Jazz Piano Fifth Edition Charles Austin Introduction This ook is an attempt to address the techniques of piano playing as applied to the playing of jazz. It is also an attempt to address
The Major Scale Key Signatures Cycle of 5ths Numbering (Spelling)... 24
CONEN bout the uthor... 4 INRODUCION... Chapter Getting tarted 6 he Guitar Fingerboard...6 uning... Music Notation...8 Reading, cale, and Chord Diagrams... 2 Roman Numerals... 2 ome erms and igns... asic
Beginner Guitar Theory: The Essentials
Beginner Guitar Theory: The Essentials By: Kevin Depew For: RLG Members Beginner Guitar Theory - The Essentials Relax and Learn Guitar s theory of learning guitar: There are 2 sets of skills: Physical
Worship Team Expectations
Worship Team Expectations General Expectations: To participate on the worship team, you must consider FaithBridge to be your home church. Being an active member of the FaithBridge family means: Participate
ULLA IN AFRICA. 8 How to Play Lead Trombone in a Big Band
ULLA IN ARICA The opening hymn-tune (ars 1 5) is very eautiul and sonorous It demands a good, lended sound rom each memer o the section as well as a connected, legato articulation and the aility to move
Swing & Jump Blues Guitar Matthieu Brandt
Swing & Jump Blues Guitar Matthieu Brandt March 2016 Version 3.0 Goto www.swingblues.com for more on Swing and Jump Blues Guitar. 1997-2016 No part of this material (book/cd/website) may be reproduced
Tutorial 3K: Dominant Alterations
Tutorial 3K: Dominant Alterations Welcome! In this tutorial you ll learn how to: Other Tutorials 1. Find and use dominant alterations 3A: More Melodic Color 2. Play whole-tone scales that use alterations
Modern Band: Chart Notation Guide
At the top of each lead sheet, you ll fi nd information on the song s key (in this case, A major), tempo (90 BPM), chords, and song structure. You ll see the chords listed with a letter name and a roman
guitarlayers Release Notes REL
guitarlayers Release Notes REL. 2.2.2 moreorless music Rev. 20180422 What s new in Release 2.2.2 New widely used chords diagrams added as standard guitarlayers contents: Major, Minor, Augmented, Diminished
TABLE OF CONTENTS ABOUT THE AUTHOR...4 INTRODUCTION...5 CHAPTER
TABLE OF CONTENTS ABOUT THE AUTHOR INTRODUCTION5 CHAPTER Revie6 Intervals 6 Triads 7 7th Chords 8 Diatonic Harmony8 Voicings 0 Four-Note Voicings0 Shell Voicings0 Beop-Style Left-Hand Voicings Three Note
Approach Notes and Enclosures for Jazz Guitar Guide
Approach Notes and Enclosures for Jazz Guitar Guide As a student of Jazz guitar, learning how to improvise can involve listening as well as learning licks, solos, and transcriptions. The process of emulating
Easy Jazz Guitar Progressions
Easy Jazz Guitar Progressions 12 Essential Progressions for Jazz Guitar Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2017 Guitar for Life LLC mattwarnockguitar.com 2 Table of
Chromatic Chord Tone Patterns
A scale-like approach to add chromatics to Gypsy Jazz improvisation By Jim Vence March 2011 As a progressing Gypsy Jazz improviser, you have been probably working on your chord and arpeggio patterns, as
Approach Note Series #1: Root and Third
Approach Note Series #1: Root and Third A true staple in the jazz improvisation world is the approach note technique. It is a technique that has been used by all of the greatest jazz improvisers of the
The I-IV-II-V Progression
The I-IV-II-V Progression I-VI-II-V Soloing (L#9) Scott Devine "In this tutorial I demonstrate how to play the I-IV-II-I progression. It's really common and one you need to learn." Parent Scale: C Major
Rock Guitar Basics instructor Rick Mollindo B.A.
Rock Guitar Basics instructor Rick Mollindo B.A. www.lessonsonlocation.com 2005 Rick Mollindo T he scope of this course is to introduce you to the basics of playing Rock Style Guitar. Elements of Scales,
Additional Open Chords
Additional Open Chords Chords can be altered (changed in harmonic structure) by adding notes or substituting one note for another. If you add a note that is already in the chord, the name does not change.
By John Geraghty ISBN Copyright 2015 Green Olive Publications Ltd All Rights Reserved
By John Geraghty ISBN 978-0-9933558-0-6 Copyright 2015 Green Olive Publications Ltd All Rights Reserved Book One Manual and CD 1 Table of Contents Introduction... 1 Contents within the Course Part 1...
Copyright MCMLXXIX by Alfred Publishing Co., Inc.
This CHORD DICTIONARY shows the notation, fingering and keyboard diagrams for all of the important chords used in modern popular, music. In order to make this dictionary useful to the amateur pianist,
contents ABOUT THE AUTHOR...4 INTRODUCTION...5
contents ABOUT THE AUTHO... INTODUTION...5 hapter : Getting Started Open Position hords 6, Barre hords 7, eading Music 8, Blues Progressions and Strumming 9, Pentatonic Scale Fingerings 0 hapter The A
Elements of Predictability
Advanced Harmonic Concepts Elements of Predictability There are a number of similar characteristics associated ith the composition and performance of standard jazz With these characteristics come a number
Parts of The Guitar: Tuning Pegs. Headstock. Nut. Frets. Neck. Strap Peg. Body. Pick guard. Pickups. Pickup Selector Volume and Tone Knobs
Parts of The Guitar: Tuning Pegs Headstock Nut Frets Neck Strap Peg Body Pickups Bridge & Tremolo (6 individual saddles make up the bridge assembly) Pick guard Pickup Selector Volume and Tone Knobs Input
In 'Beach-ball' position, the 'root' will always be the bottom note...
core Unit 12 Study Notes (found on Weely) Lesson 47 Learning Target #1: What is a 'CHORD' When three or more notes are sounded together, the comination is called a CHORD. In common-practice harmony, chords
Chord Construction. I am going to approach chord construction from the point of view of the major scale. E Form
Chord Construction I am going to approach chord construction from the point of view of the major scale. E Form Using the E form scale, I have diagramed the scale with numbers indicating the tones of the